The Meidias Painter created a hydria depicting the abduction of the daughters of Leucippus by Castor and Polydeuces on the upper frieze. On the lower frieze is shown Herakles' retrieval of the golden apples from the garden of the Hesperides. The painter skillfully arranged the compositions to fit the vase shape and used different groundlines, graceful figures, and elaborate drapery to highlight the elegance and beauty of the scenes.

1. Meidias Painter Hydria White text: p.62-64 Black text: p.91-94

6. Dimensions Height: 52 cm

8. Decoration The Upper Frieze Restricted by the shape of the vase, and the limitations of the handles, the artist arranges his composition at several different levels, representing different groundlines. These different groundlines are used to connect the different elements of the scene.

12. Zeus sits on a rock, holding his sceptre, calmly watching his sons go about their abducting.

13. Here, Aguae runs towards Zeus, her cloak billowing behind her.

14. Chryseis, a girl with flowers in her lap, watches the scene unfolding.

15. The statue of Aphrodite is painted to show the gilded gold Peplos and ivory white body of a stone statue. The statue holds a phiale , a perfumed container, in the right hand, while the left hand is raised. Here Aphrodite, Goddess of Love and Beauty, has a central position on the vase. She sits beside her heavily carved altar, calmly watching the abduction.

16. Peitho, a companion of Helera and Eriphyle runs away. Here is a stylised bay tree – represents the scenery of the sanctuary of Apollo.

17. Castor, dressed in a heavily embroidered himation, is carrying Eriphyle off to his chariot.

18. Here, Chrysippos, the charioteer of Castor waits for Castor to return.

19. Here, Polydeuces has already reached his chariot and races away, with Helera. This is a much busier, more active scene than the lower frieze.

20. Meidias Painter’s skill is evident here – the horses are shown in different poses. The third horse, in particular, is shown in ¾ view with a foreshortened head.

22. The figure-hugging drapery on the upper frieze is very similar stylistically to the drapery on this sculpture of Athena Nike on the Athenian Acropolis, dated around 420-410 BC.

23. Decoration The Lower Frieze The lower frieze continues all the way around the vase, under the line of the handles. The figures in the lower scene are mostly static. This lack of movement draws the viewer’s attention to the elegant poses and delicate drapery.

24. Hera, wife of Zeus, hated Herakles because he reminded her of Zeus’ infidelity. She sent a fit of madness upon him during which he killed his wife and children. In horror and remorse at his deed Herakles would have slain himself, but he was told by the oracle at Delphi that he could purge himself by becoming the servant of his cousin Eurystheus, King of Mycenae. Eurystheus, urged on by Hera, devised as a penance 12 suicidal tasks, the “Labours of Herakles.” Zeus promised that when he had completed these 12 tasks he would be rewarded with immortality.

27. The action takes place in the garden of the Hesperides. Frieze divided into two parts by stylised tree which bears golden apples A snake is guarding the tree and is coiled around it. Here is Hygieia, who holds sceptre in her left hand and pulls on her drapery with her right. Beside her is Klytios who gestures towards Chrysothemis and Asterope as if discussing their action.

28. Chrysothemis, one of the daughters of Hesperis, reaches out with a graceful hand to take an apple from the tree. Asterope, a companion of Chrysothemis, stands behind her, watching her and urging her on. This is an exaggeratedly elegant pose. See p.94 in black text

29. On the other side of the tree the action continues: Here, Lipara stands holding an apple. Lipara looks over her shoulder at Herakles. She holds an apple in her left hand, and gently tugs at her chiton with her right.

30. See p.94 for a clearer view All the women are depicted as beautiful, elegant creatures. Their grace and elegance is exaggerated almost to the point of unreality. These poses are typical of Meidias Painter. The detail of her decoration is impressive – she wears bracelets and necklaces, earrings, and a coronet in her hair.

31. Herakles is painted nude. He sits on a rock in a relaxed pose, watching the girls. He uses his lionskin as a cushion, and leans on his club with his right hand. Meidias Painter’s interest in the human form extended to men as well as women, and Herakles sports a very well developed torso. This is emphasised by his ¾ depiction.

32. Herakles’ nephew Iolaos stands behind his uncle holding a staff in his right hand. He is dressed in a chiton and an embroidered himation On the back of the vase there are eleven figures, some of whom are local attic heroes. See p.92 in black text for rear view